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11
Technique(s) / Re: Alan Dawson Rudimental Ritual
« Last post by Mariano Perez on January 09, 2015, 02:47 PM »
If I can do it believe me that anyone could reach that speed. I've been playing this routine for 3 years now, once a day from monday to saturday the 365 days of the year. But don't worry about how faster you can play it, slow it down get it clean and relax if still not clean slow it down more until you can play it perfectly from start to end. The technical skills to play faster will come along don't force it

As you said you can work on trouble spots to get better and don't forget to keep your taps down, good luck with it!
12
Technique(s) / Re: Alan Dawson Rudimental Ritual
« Last post by Brandon Goodwin on January 02, 2015, 12:27 PM »
190bpm! Wow! I don't know if I'll ever get to that tempo. I guess working out individual problem spots could help to achieve this. The tumbao is a great idea. I think I'll try it out next!
13
I play a LOT of low volume situations.  I used the Erskine's mentioned before, as well as a variety of maple sticks.  Now, however, I rarely step up to sticks unless I need to (rather than the other way around).  Here's what I've found:

I play best, groove best, jell best, whatever you want to call it, when I'm matching the volume to effort levels of the other musicians.  If we hit the climax of a song live and the guitarist is leaning on his vocals and his axe full force, I don't want to just be stepping my effort up from "dainty" to "less dainty".  I would rather be slapping the crap out of my brushes at that point than restricting myself from getting caught up in the music.

Don't get me wrong, if you're doing this occasionally, get yourself a pair of light sticks, mute your drums a bit, and pull it off.  You'll still sound great, and it may likely be a better immediate fit for you if you're used to playing with sticks.

But if this is a longer term position, as it has been with me, start getting used to the tools of that trade.  Cymbal selection is also going to be huge, as you'll need to find best how to fit in the mix volume and EQ wise.  Over the years I've found that I need to have a set of 100% raw cymbals (right now playing K custom raw hats and ride) as well as some higher pitched, washy-er cymbals (right now, k mastersound hats, constantinople light high ride). 

Anyhow, hope some of this brain dump helps! 

Cheers,

John

I only play brushes when it's the sound that I need to make on my drums. I use the same drumstick for all situations; I change my volume for the situation; I only muffle drums if the sound is what is required; muffling doesn't happen to reduce my volume; I control that, not my drums.

You don't see orchestral snare players switching to brushes during the ppp parts of Bolero; they use the same sticks and control their dynamics. 

I've seen loads of drummers in Montreal (where I live) that beat the tar out of a set of brushes, bundles, or blasticks instead of using sticks; it doesn't sound good and it makes little sense.
14
I know this is a really old thread, but I wanted to add to it. Has there been any update from the OP on how this worked out from him?

I have Cerebral Palsy and I currently have a worn out right hip. I need to have a hip replacement in June. For years my right hip has been so bad that I've mostly played as an open handed lefty. Though at times I've played with just closed hi-hats and used my left foot on a slave pedal. I'm heading toward needing to play that way again. My CP is spastic, which means my muscles are tighter and in the case of my right leg, I can have spasms, which the bad hip only makes worse. So even keeping the hi-hat closed and doing "minimal duty" is sometimes difficult and if I can play, I get up in pain afterwards.

So what I've usually done in the past is have two hi-hats, one closed enough that I can get some tighter sounds depending on if I use the tip of my stick, or the shaft of my stick on the surface of the hats closer to the bell. I can then use the shaft of the stick on the edge to get slosher sounds to approximate an open note. Then I'll have a second pair that is open either all the way or just enough to get a sloshy sound. I use a DW Incremental Clutch to help dial in the amount of openeness i want.

I agree that some styles of music don't work well with this setup but they're few. Mostly disco and dance styles that require constant opening and closing. But I've found that as long as you play confidently with the setup and find other ways to fill the space that the open hi-hat would normally take up, either with splash chokes or hits, and light hits on the cymbals, most people won't notice or care, and that includes the band.
15
Technique(s) / Re: Alan Dawson Rudimental Ritual
« Last post by Mariano Perez on December 31, 2014, 11:29 AM »
I've been playing the ritual daily since 3 years ago. It's an excelent routine, my hand technique have been improved a lot since I started playing it. I think the key is to make a big difference between unaccented and accented notes playing the taps very soft. I've played it in all tempos from very slow to very fast, 190bmp it's the fastest I've played it, but I think it's more important to play it clean than fast. I've played with samba and baion ostinato on feet. But the most i like is with the tumbao

This is my first message in the community. I'm spanish native speaker so I hope you can understand me because my english it's not so good  :P
16
Technique(s) / Alan Dawson Rudimental Ritual
« Last post by Brandon Goodwin on December 30, 2014, 01:15 AM »
Just wanted to say how much I love the Alan Dawson Rudimental Ritual. It is one of the most perfectly put together exercises out there. It works the hands, the feet, coordination, poly-rhythmic groupings and more.

   What do you guys think about this rudimentary workout? What tempos can you play it at? At one point I could play it at 144bpm, but I've since slowed it down to work on precision instead. I play it between 80-120bpm right now, and work on different variations with it.
   I've also worked it out with the a Baio (sp) bass drum ostinato, and the classic 4-on-the-floor with great results.

   I've also recently bought the Wilcoxon 150 snare drum solos book, which seems to fit the rudimental ritual like a glove.
17
I play a LOT of low volume situations.  I used the Erskine's mentioned before, as well as a variety of maple sticks.  Now, however, I rarely step up to sticks unless I need to (rather than the other way around).  Here's what I've found:

I play best, groove best, jell best, whatever you want to call it, when I'm matching the volume to effort levels of the other musicians.  If we hit the climax of a song live and the guitarist is leaning on his vocals and his axe full force, I don't want to just be stepping my effort up from "dainty" to "less dainty".  I would rather be slapping the crap out of my brushes at that point than restricting myself from getting caught up in the music.

Don't get me wrong, if you're doing this occasionally, get yourself a pair of light sticks, mute your drums a bit, and pull it off.  You'll still sound great, and it may likely be a better immediate fit for you if you're used to playing with sticks.

But if this is a longer term position, as it has been with me, start getting used to the tools of that trade.  Cymbal selection is also going to be huge, as you'll need to find best how to fit in the mix volume and EQ wise.  Over the years I've found that I need to have a set of 100% raw cymbals (right now playing K custom raw hats and ride) as well as some higher pitched, washy-er cymbals (right now, k mastersound hats, constantinople light high ride). 

Anyhow, hope some of this brain dump helps! 

Cheers,

John
18
General Board / Re: I'm New Here ... (introduce yourself)
« Last post by John Pinck on December 29, 2014, 11:24 AM »
G'day,

My name's John, and I'm drumming just outside of Ottawa Canada in Aylmer Quebec.  I've got about 20 years experience behind kit, mostly playing in volume sensitive situations (small churches and coffee bars).  I've probably clocked more time with brushes or lightning rods in my hands than actual sticks.  I usually find myself in the folk/jazz/blues genre, but occasionally get a call to fill in rock/blues gigs.

Here's a rough sample of the types of things I'm doing these days.  And by rough, I mean it was recording on an iPhone by a passer-by while we were having an outdoor jam.  You drum geeks will probably get a kick out of the fact that I'm playing a K Constantinople attached to a Samsonite suitcase using a vice-grip wrench ;)



Cheers,

John
19
Technique(s) / Re: Right and left hand
« Last post by Tim van de Ven on December 25, 2014, 05:30 PM »
I play with my left hand on the hi hats (on a right-handed set-up) and I have my ride over the hats, where most drummers have a crash.

It most definitely helps to learn to play both traditional (one hand crossed over the other to reach the hats) and this left hand lead or open style.
20
General Board / Re: Drummer Cafe Celebrating 18-Year Anniversary
« Last post by Bart Elliott on December 25, 2014, 04:02 PM »
I came here soon after Bart started this site. I wish all my DC friends a very Merry Christmas.  :)

Yeah, you've been here since 2004 ... that's ten years on the forum ... I started the website in 1996. Thanks, Chip.
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